Photography and Documentary Film in the Making of Modern Brazil provides a distinctive contribution to the field of visual culture through a study of still and moving images of Brazil in the first four decades of the twentieth century, when the camera played a key role in making Brazilian peoples and places visible to a variety of audiences. The book explores what is distinctive about the visual representation of Brazil in an era of modernisation, also attending to the significance of the different technical properties of film and photography for the writing of new histories of visual technologies. It offers new insights into the work of key writers, photographers, anthropologists, and filmmakers, including Claude Levi-Strauss, Mario de Andrade, Silvino Santos and Aloha Baker. Unearthing a wealth of materials from archives in the U.S., Britain, and Brazil, the book seeks to contribute to the postcolonial theoretical project of pinpointing locally distinctive histories of visual technologies and practices.

This spectacular, large format, full color, new book is quite simply the most impressive book of its type we have seen. Packed with over 200 photographs, maps and charts, the book is divided into the sectors associated with the Normandy landings in 1944. What's more it is extremely reasonably priced.

Each sector is covered in detail, with particular emphasis being given to the troops at each location and the fortifications, terrain and other obstacles they had to overcome to break out from the beaches. There are also biographies of the leading commanders in each sector as well as extensive detail on the equipment used.

Editions Heimdal is based in Bayeux, close to Gold Beach and has, as a result, the most extensive archive of images and information from the time. They have created an extraordinary book which will appeal to all who even just think of making the trip. This book will sell fast, so order your copies now!

With the American-supported South Vietnamese government verging on collapse in early 1965, American President Lyndon Johnson decided to commit American conventional ground forces in the form of a United States Marine Corps (USMC) brigade of approximately 3,000 men on March 8, 1965. So began a massive and costly 10-year commitment. At its height in 1968, the USMC had 86,000 men in South Vietnam. Almost 500,000 Marines would eventually rotate in out of South Vietnam during their typical one-year tours of duty. In the end, the fighting during such well-known battles at Con Tien, Chu Lai, Hue, Khe Sanh and Dong Ha and thousands of now forgotten smaller-scale engagements would cost the USMC 13,070 killed in action and 88,630 wounded, more casualties than they suffered during the Second World War. In this book, well-known military historian Michael Green using hundreds of dramatic images tells the dramatic and gallant story of the Marines' contribution to an unwinnable war; the battles, their equipment, from rifles to helicopters and jets, and the strategy adopted by the Corps.

Don't let the quaint and homespun title fool you. This book is a beautifully written and engaging homage to Evelyn Losack, a woman farmer and water rights activist from Corrales, New Mexico, a small community on the northern outskirts of Albuquerque. Through the sensitive journalist eye of writer/photographer Stacia Braude-Spragg, the book is a personal introduction to a life well lived, one with conviction, which will have universal appeal.

Recaptioning Congo places the colonial Congo's photography history in new perspectives. Six writers and everyday Congolese urban voices take an African-centered look at imperial archival images and provide them with creative, contemporary and/or literary 'captions'. The book, linked to an exhibition in the photography museum FOMU Antwerp, is based upon the extensive research of the photographic history of colonial Congo (1885 - 1960), conducted by Dr. Sandrine Colard. It contains a wealth of revealing images that highlight the relationship between past and present, Africa and Europe and Belgium and Congo. Text in English, French and Dutch.

An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created In this comprehensive study, Kevin Moore examines the relationship between Eugene Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city-old Paris-as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York. This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott's efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century. Published in association with FotoFocus, Cincinnati Exhibition Schedule: Taft Museum of Art, Cincinnati (10/04/18-01/20/19)

Understanding photography is more than a matter of assessing photographs, writes Ariella Azoulay. The photograph is merely one event in a sequence that constitutes photography and which always involves an actual or potential spectator in the relationship between the photographer and the individual portrayed. The shift in focus from product to practice, outlined in Civil Imagination, brings to light the way images can both reinforce and resist the oppressive reality foisted upon the people depicted. Through photography, Civil Imagination seeks out relations of partnership, solidarity, and sharing that come into being at the expense of sovereign powers that threaten to destroy them. Azoulay argues that the "civil" must be distinguished from the "political" as the interest that citizens have in themselves, in others, in their shared forms of coexistence, as well as in the world they create and transform. Azoulay's book sketches out a new horizon of civil living for citizens as well as subjects denied citizenship-inevitable partners in a reality they are invited to imagine anew and to reconstruct. Beautifully produced with many illustrations, Civil Imagination is a provocative argument for photography as a civic practice capable of reclaiming civil power.

In Hogwild: A Back-to-the-Land Saga, readers learn that the term ""Hogwild"" was an outrageous ideology-that a loosely organized confederation of like-minded individuals could carve out a simple country lifestyle from an enclave of mountain land, raise their own crops, bring up their children in peace and serenity, and build their own free-spirited houses with logs timbered from the local forest in an environmentally conservative fashion. It was in the 1970s when Jock Lauterer, a photographer turned builder, joined six other families on the 300 acre homesteading community in the Southern Appalachian mountain range while documenting his experience through pictures and vivid descriptions of the process of building ""Old Tom,"" the house that eventually housed him and his family.

On October 30, 1974, in Kinshasa, Zaire, at the virtual center of Africa, two boxers were paid five million dollars apiece to confront each other in an epic match. One was Muhammad Ali, who vowed to reclaim the championship he had lost. The other was George Foreman, who was as taciturn as Ali was voluble and who kept his hands in his pockets "the way a hunter lays his rifle back into its velvet case." Observing them both was Norman Mailer, whose grasp of the titanic battle's feints and stratagems-and sensitivity to their deeper symbolism-made his 1975 book The Fight a masterpiece of sportswriting. Whether analyzing the fighters' moves, interpreting their characters, or weighing their competing claims on the African and American souls, Mailer was a commentator of unparalleled acumen-and surely one of the few intrepid enough to accompany Ali on a late-night run through the bush. Through The Fight he restores our tarnished notions of heroism to a blinding gleam, and establishes himself as a champion in his own right. Over four decades after its original publication, this edition of The Fight has been introduced and abridged by Mailer scholar J. Michael Lennon and illustrated for the first time with principal photography by the two men who captured Ali and Foreman in the ring and in private like no one else: Neil Leifer and Howard L. Bingham. Widely considered to be the greatest sports photographer of his generation, Neil Leifer's vibrant color coverage dominates from ringside. It also serves as a living testimony to the pageantry, sheer physical power, and deep psychological interplay of the fighters, their camps, and their controversial host, Zaire's President Mobutu Sese Seko. Behind the scenes, meanwhile, Howard Bingham was Ali's constant companion, documenting his every move from the moment he stepped off the plane in Zaire, his daily training regime, right through to the dressing room tension as he prepared to face Foreman once and for all. Together with pictures from other photojournalists, reproductions of Mailer's original manuscript pages, and additional visual documentation of the media frenzy surrounding the "Rumble in the Jungle," the result is a dazzling tribute to The Champ and a vivid document of one of the most epic, adrenaline-laced events in sporting history.

In the postwar years, an eruption of urbanization took place across Japan, from its historical central cities to the outer reaches of the archipelago. During the 1960s and 1970s, Japanese literary and visual media took a deep interest in cities and their problems, and what this rapid change meant for the country. In Residual Futures, Franz Prichard offers a pathbreaking analysis of the works wrought from this intensive urbanization, mapping the ways in which Japanese filmmakers, writers, photographers, and other artists came to grips with the entwined ecologies of a drastic transformation. Residual Futures examines crucial works of documentary film, fiction, and photography that interrogated Japan's urbanization and integration into the U.S.-dominated geopolitical system. Prichard discusses documentary filmmaker Tsuchimoto Noriaki's portrait of the urban "traffic war" and the remaking of Tokyo for the 1964 Olympics, novelist Abe Kobo's depictions of infrastructure and urban sociality, and the radical notions of landscape that emerge from the critical and photographic work of Nakahira Takuma. His careful readings reveal the shifting relationships among urban materialities and subjectivities and the ecological, political, and aesthetic vocabularies of urban change. A novel cultural history of critical urban discourse in Japan, Residual Futures brings an interdisciplinary approach to Japanese literary and visual media studies. It provides a vital new perspective on the infrastructural aesthetics and entangled urban and media conditions of the global Cold War.

In 1969, a group of young Puerto Rican activists founded the Young Lords Party in New York City, taking inspiration from the Black Panthers. "Palante," the first book by and about the radical organization, is brought back into print here with new introductory material. Capturing the spirit and actions of the sixties movements, "Palante" features political essays by members, oral histories of their lives leading into the party, and more than seventy-five photos of their vibrant membership and actions.

Michael Abramson is a photographer and publisher who lives in Brooklyn, New York.

Iris Morales is the producer of the documentary "Palente, Siempre Palente The Young Lords," which aired on PBS, and is the executive director of the Union Square Awards.

THE BOOK BEHIND THE HIT CHANNEL 5 DOCUMENTARY

A glimpse of life inside the world’s most secretive country, as told by Britain’s best-loved travel writer.

In May 2018, former Monty Python stalwart and intrepid globetrotter Michael Palin spent two weeks in the notoriously secretive Democratic People’s Republic of Korea, a cut-off land without internet or phone signal, where the countryside has barely moved beyond a centuries-old peasant economy but where the cities have gleaming skyscrapers and luxurious underground train stations. His resulting documentary for Channel 5 was widely acclaimed.

Now he shares his day-by-day diary of his visit, in which he describes not only what he saw – and his fleeting views of what the authorities didn’t want him to see – but recounts the conversations he had with the country’s inhabitants, talks candidly about his encounters with officialdom, and records his musings about a land wholly unlike any other he has ever visited – one that inspires fascination and fear in equal measure.

Written with Palin’s trademark warmth and wit, and illustrated with beautiful colour photographs throughout, the journal offers a rare insight into the North Korea behind the headlines.

Art as Witness is a cluster of barbed writings and biting images from the underbelly of turbulent India and its neighboring countries. Relying on the sustained work of eminent photographers and artists on rights issues in and around South Asia, and on writings by courageous activists, lawyers, journalists, and social scientists, the book focuses on the terror unleashed by armies, states, and courts of law, and tells the stories of brave survivors. Here, text and image are strained to their limits to convey the hopes and anguish of prisoners, death-row victims, murder-victim families, families of missing people, populations living under martial law, and displaced communities, in a world where democratic rights and freedoms are shrinking every day. Based on Amnesty International India's 'Art for Activism' project, this book hopes to strengthen global campaigns for a world without fear and torture, a world without death penalty, or disappearances and custodial violence. It hopes to reach out to a wider and more diverse readership/viewership through its parallel narrative of images as visual testimonies, and spillover references to the popular worlds of cinema, music, slogan, and performance.

Deluxe, limited edition of 100 copies. It is a must-have luxury, collector's item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Baron Wolman, exclusive to this edition. It includes a full set of original, unused tickets for the Friday, Saturday and Sunday of the festival. The book is numbered and signed by all contributors: Baron Wolman, Dagon James, Carlos Santana and Michael Lang. Baron Wolman's stunning black and white photographs of Woodstock are published here for the first time. The majority of images are completely unseen. With accompanying text featuring an interview with Wolman and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana. Wolman captured the experience and atmosphere of Woodstock like no other photographer. More interested in the crowd than the performers, his photographs are hugely evocative and offer an insight into this legendary event that is rarely seen.

A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European emigres, including Bauhaus artists forced out of Nazi Germany. The unmistakable aesthetic made popular by such magazines as Harper's Bazaar and Vogue-whose art directors, Alexey Brodovitch and Alexander Liberman, were both immigrants and accomplished photographers-emerged from a distinctly American combination of innovation, inclusiveness, and pragmatism. Beautifully illustrated with more than 150 revolutionary photographs, layouts, and cover designs, Modern Look considers the connections and mutual influences of such designers and photographers as Richard Avedon, Lillian Bassman, Herbert Bayer, Robert Frank, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand. Essays draw a lineage from European experimental design to innovative work in American magazine design at mid-century and offer insights into the role of gender in fashion photography and political activism in the mass media. Published in association with the Jewish Museum, New York Exhibition Schedule: Jewish Museum, New York (April 2-July 11, 2021)

On March 11, 2011 one of the most powerful earthquakes in recorded history devastated Japan, triggering a massive tsunami and nuclear meltdowns at three reactors in the Fukushima Daiichi Nuclear Power Plant complex in a triple disaster known as 3.11. On five separate journeys, Japanese-born performer and dancer Eiko Otake and historian and photographer William Johnston visited multiple locations across Fukushima, creating 200 transformative color photographs that document the irradiated landscape, accentuated by Eiko's poses depicting both the sorrow and dignity of the land. The book also includes essays and commentary reflecting on art, disaster, and grief. "By placing my body in these places, I thought of the generations of people who used to live there. Now desolate, only time and wind continue to move." - Eiko Otake "This book is of people who had lived in Fukushima and had to leave, and of people who had died there before the disaster. This book is of Fukushima, of a dancer, of a performance, of a gaze. A gaze of a dancer, of time, and of a photographer. And this book is of you, your gaze. When you take time to look at and look into each photograph, we hope it becomes a performance for you and with you, of Fukushima. By witnessing events and places, we actually change them and ourselves in ways that may not always be apparent but are important. Through photographing Eiko in these places in Fukushima, we are witnessing not only her and the places themselves, but the people whose lives crossed with those places." - William Johnston

In 2018, Israel marks the seventieth anniversary of statehood. Yet the events of 1948 are remembered very differently by the Palestinian people, who to this day carry the memory of the Naqba, the displacement of an estimated 750,000 Palestinians from their territories during the 1948 Palestine war. In the seven decades since, there has been no lasting agreement to sort out the volatile political and social situation in the region, which looks likely to remain for many years to come. Unresolved is the most recent photo-essay by renowned Swiss documentary photographer Meinrad Schade. A continuation of his War Without War project, in which Schade documented the lingering, damaging marks of war on the former Soviet Union, Unresolved explores the obvious traces of conflict and the scars it leaves on both the people and landscapes in Israel, the West Bank, the Golan Heights, and the Gaza Strip. Yet even more importantly, Schade brings home to the reader the sometimes more hidden symbols that can be found in daily life and that are simultaneously result and catalyst of the struggle. The captions - in English, German, Hebrew, and Arabic - highlight historic and current aspects of the conflict and invite readers to view it from different perspectives. Text in English, German, Arabic and Hebrew.

Between 1935 and 1943, the United States government commissioned forty-four photographers to capture American faces, along with living and working conditions, across the country. Nearly 180,000 photographs were taken - 4,000 in Maryland - and they are now preserved in the Prints and Photographs Division of the Library of Congress. Constance B. Schulz presents a selection of these images in Maryland in Black and White. Maryland in the 1930s and early '40s truly represented a microcosm of America, a middle ground where beach and mountain, north and south, urban and rural, black and white, farmer and businessman, rich and poor, young and old met. This period also witnessed a turning point in the state's history. The pace and nature of change varied from region to region, but even in areas that seemed most resistant to it-the Chesapeake Bay, where oyster tongers harvested their catch using methods unchanged for centuries, or the mountains and streams of Garrett County, where the seasons timelessly repeated themselves - the momentum toward a modern economy, influenced if not dominated by urban and national concerns, had significant impact. Within these pages, the farms and coal fields of 1930s and '40s Western Maryland, the tobacco fields of Southern Maryland, watermen in wooden boats along the Eastern Shore, and smiling couples dancing at a wartime senior prom come back to life. These photographs reveal places we know but scarcely recognize and give us another look at the people of "the greatest generation."

Britain is changing. Don't panic! Let's talk. Who were we? Who are we? Who do we want to be? Look back. Leap forward. Explore this treasure trove of images from the Mirror archives that expansively covers the last 100 years. Made in Britain is an epic collection of photographs chronicling Britain at work - that both reminds us of our collective power and giving us hope for the future. These images are pieces of a lost world. Ships emerge at the end of the street. The faces of tough, proud people look at us through the lens of a camera. They had their own hopes and fears. What would they say to us? This was Britain at work. We used to make stuff on an epic scale. Life was not a rose garden, but together we achieved incredible things. We built the modern world. We were always a big family, welcoming workers from around the globe. Let's start a conversation. Let's look back to leap forward. Epic goals are exciting. Epic goals bring people together. We used to make stuff. Could we make stuff again? Should we?